Mariaclara Zanin

HEAVY DOMINO // PULSART EXHIBITION// JULY 2011

2011-09-28T14:24:00.000+02:00

DRESS FOR TWILL MAGAZINE

2011-07-23T10:03:00.005+02:00

Dress by: Mariaclara Zanin
Photo's by: Andoni & Arantxa@ Close-Up
Style by: Ellen Mirck
Make-up by: : Claudia Marchetti @ Greenapple
Hair by: Tomaso Incamicia @ Close-Up
Model: Kristel van Valkenhoef @ Elite Milano

technical drawings

2011-07-05T14:23:00.002+02:00

sketches

2011-07-05T14:17:00.002+02:00

Costumes for "A history of Madness"

2011-06-09T11:15:00.002+02:00

Produced by Daamstudio

Starring: Veronica Stievano

A history of madness from DaamStudio on Vimeo.

COSTUMES FOR A DANCE PERFORMANCE

2011-05-26T11:42:00.004+02:00

These are the costumes I made for an artistic dance performace in collaboration with Centro Artedanza Lucy Briaschi http://www.lucybriaschidanza.com/
It took place in

-Teatro Comunale, Thiene (Vicenza) --17th April 2011-- ARTEVEN theatre Season
- Teatro Bixio, Vicenza --8th May 2011
-Teatro Comunale, Thiene (vicenza)-- 29th May 2011--final show of the dance recital "GRUPPO ARTEDANZA LUCY BRIASCHI"

tribute dress not to forget.

2011-02-13T15:34:00.001+01:00

rip Alexander McQueen

PUBLICATION Medusa on "Talenti sul set n.6" www.vogue.it

2011-02-13T14:28:00.002+01:00

LINK: http://www.vogue.it/talents/talenti-sul-set/2011/02

PUBLICATIONS graduation project published on www.vogue.it

2011-02-13T14:17:00.004+01:00

LINK: http://www.vogue.it/talents/neodiplomati/2010/12/mariaclara-zanin

Arlecchino CMYK

2010-12-25T11:07:00.007+01:00

costume di scena per l'opera teatrale PINOCCHIO, andato in scena al Palabassano il 4 e 5 dicembre.
La regia dell’opera è curata dal direttore artistico de La Piccionaia di Vicenza, Carlo Presotto.
In attesa di foto migliori, ecco le provvisorie.
Un grazie alla Lucy per le foto

a dress for a friend

2010-11-21T23:05:00.004+01:00

A.: "it has to be black, short and sexy."
M.: "fine."

works

2010-11-02T00:46:00.003+01:00

//

2010-10-20T21:06:00.003+02:00

VOGUE

2010-09-27T15:26:00.001+02:00

publication on Vogue Italia, september 2010 issue, "emerging talents" booklet, page 6

Stylist (VISIT: http://www.shootthemodel.com/fashion.php )

2010-09-15T11:19:00.011+02:00

This is a photoshooting I curated, in collaboration with Soraia Costa and David Tynnauer (www.shootthemodel.com). Followed by their two-years-old son Valentino and a cameraman, Soaia and David are travelling around Europe discovering new places and emerging talents, according to the itinerant fashion tv program they're working for. This has been an intense, exciting two-days-long experience.

Model: Anna Martini
These backstage pictures were taken by: Soraia Costa, David Tynnauer, Marco Bizzotto
Thank you to: Andrea Maino and Francesca Basso

Medusa

2010-07-28T17:22:00.004+02:00

At certain moments I felt that the entire world was turning into stone: a slow petrifaction, more or less advanced depending on people and places but one that spared no aspect of life. It was as if no one could escape the inexorable stare of Medusa. The only hero able to cut off Medusa's head is Perseus, who flies with winged sandals; Perseus, who does not turn his gaze upon the face of the Gorgon but only upon her image reflected in his bronze shield. Thus Perseus comes to my aid even at this moment, just as I too am about to be caught in a vise of stone -which happens every time I try to speak about my own past. Better to let my talk be composed of images from mythology.

To cut off Medusa's head without being turned into stone, Perseus supports himself on the very lightest of things, the winds and the clouds, and fixes his gaze upon what can be revealed only by indirect vision, an image caught in a mirror.
(Italo Calvino, From Six Memos for the Next Millennium
Chapter 1: Lightness)

2010-06-20T14:29:00.001+02:00

sketches

2010-06-20T14:17:00.001+02:00

2010-05-28T16:44:00.000+02:00

2010-05-28T16:34:00.000+02:00

white square

2010-05-17T19:06:00.003+02:00

My project is the result of a thought process I elaborated during the making of my last collection. The Maori culture has been my first visual reference: the project explores the impressive structure and majesty of their bodies and the drawings of their tattoos through the creation of large volumes and regular, symmetric cuts. The fetish aesthetics (my contemporary reference) helped me to transform these irregular decorative tattoos in sharp, severe lines and marks, giving the spectator a first suggestion of artificial aggressiveness, that has been emphasized by the choice of materials such as rubber, leather and shiny, black fabrics. While choosing the definitive sketches, I decided I wanted the outfits to be perceived into a kind of hierarchic scale, so I imagined the chessboard as the right milieu where to identify their role. In so doing I could work in a ludic way, since I was relating with pawns, not real people. Moreover the chessboard is a symmetric, ordered microcosm, where intellectual violence breaks out, where the dramatic force of fetish and the Maori solemnity can finally live together.
The obsession for symmetry and doubles developed while reading the carrollian masterpiece Through the looking Glass, shifting later on the composition of my first photo shooting. By reflecting these images symmetrically I also could suggest the absence of humanity, a mood belonging to my muse and audio support Fever Ray.
I then choose four of the eight pawns (tower, knight, bishop and king) where I traced new axis of symmetry, which inclination followed the direction of their move, that is their role. I actually was inspired by the words of Duchamp: “pawns are the printed alphabet that shape our thoughts and express beauty in an abstract way, through an ideographic execution of a move”. As a matter of fact, these new four outfits represent the drawing of new paths and new shapes, and, meanwhile, the break of the initial order of a match.
After an aesthetic thought on chess and a ludic one on my collection, I tried to move these considerations on a more general level: can Fashion and Game be interdependent? Referring to the text Man, play and games by Roger Caillois I found out they are the foundations of communication and culture, and they both include a factor of masking and identification (the so-called mimicry).

black square

2010-05-17T19:01:00.000+02:00

Cover: an introduction

2009-01-08T20:05:00.000+01:00

My muse developed when I started reading Russian poetry (Anna Achmatova), but most of all, when I first paid attention to Russian icons and, more precisely, to the clochard figure, as an omnipresent (existing in every place and time) person, from whom we turn our glance away.
People who expect to watch the garments as they come inside, could be disappointed. Rangy, imploring figures are put behind a sheet of glazed plexiglass, in order to tampon a visual collision. Observing is an exercise, the viewer can watch them or not.

As the garments, also this installation is made of one only piece (of oxidized copper) cut on one side to permit the visitors to sit down.

Chapter one: Cover the collection

2009-01-08T20:03:00.000+01:00

CLICK DOWN HERE TO SEE THE COMPLETE SHOOTING:

http://www.flickr.com/photos/25842083@N04/sets/72157612332773262/

My clothes are mainly composed by one single paper model, in order to suggest the blanket/cover as the simplest and most immediate garment.
I wanted to work with shadow effects, by using materials that could help me seeing plays of light. (unrefined wool, blanket fabric, k-way fabric fret with trichloroethene, curtain fabrics).

Chapter two: Memento Crescere

2009-01-08T19:13:00.000+01:00

Memento crescere takes inspiration from the motto “memento mori”(“remember you have to die”). Literally translated, my motto means “remember you have to grow”, since my uniform encloses two opposite concepts: the memento itself, referring to something happened in the past, and growth, an action which is addressed to the future. It is a symbolic representation of an inevitable growth , which, facing time’s irreducibility, shows its need of reappropiation of the past; this growth has been intended as a stalagmite, a series of cumulative experiences and life stages represented by different layers of the dress, which are bound together by press studs. The work suit becomes habitus, a for-ever-and-ever shelter.

Displayed at Pitti Immagine Uomo (January 2008, Florence)

and at Salone del Mobile (April 2008, Milan)

chapter four: A Jersey Project

2008-10-15T17:20:00.000+02:00

i also designed a new type of jersey for an international contest which involved my university, too.

Helped by the Italian company Dondi Jersey , my project has been carried out and then displayed in Ichinomya (Japan) in September 2008

· Title of work : NIENTE DI GRAVE ( does not hurt me)
· Design concept : technological materials, stuffing and a pleasant touch in order to make hard workers’ job less dangerous and more comfortable.
· Item-final product : hard workers’ overalls but also babycarriers

Chapter five: a video

2008-09-21T12:35:00.000+02:00

i made this video using programs such as photoshop, magic morph and premiere.

music by the bloody beetroots